I am old enough to remember the style battles of the 1980s, and I knew which side I was on – it seemed completely self-evident that the futuristic modernity of Rogers’ Lloyds building knocked Terry’s Richmond riverside into a cocked hat.

And this wasn’t just aesthetics, this about being on the right side of history, of taking one’s place in the refreshing updraft of Progress.

What Terry was held to be up to by most of the architectural profession was something called “pastiche”, and it was certainly not cool and almost definitely morally questionable – see how those floorplates crossed those sash windows! Pearls were clutched in widespread disapproval.

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